1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
20 * Automatic notation::
28 This section explains how to include text (with various formatting) in
38 * Overview of text markup commands::
45 @subsection Text scripts
48 @cindex text items, non-empty
49 @cindex non-empty texts
51 It is possible to place arbitrary strings of text or @ref{Text markup}
52 above or below notes by using a string @code{c^"text"}. By default,
53 these indications do not influence the note spacing, but by using the
54 command @code{\fatText}, the widths will be taken into account
56 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
57 c4^"longtext" \fatText c4_"longlongtext" c4
60 More complex formatting may also be added to a note by using the
62 @lilypond[fragment,raggedright,verbatim,quote]
63 c'4^\markup { bla \bold bla }
66 The @code{\markup} is described in more detail in
72 @cindex @code{\fatText}
74 @cindex @code{\emptyText}
80 In this manual: @ref{Text markup}.
82 Program reference: @internalsref{TextScript}.
86 @subsection Text spanners
90 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
91 are written as text and are extended over many measures with dotted
92 lines. Such texts are created using text spanners; attach
93 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
96 The string to be printed, as well as the style, is set through object
99 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
102 \override TextSpanner #'edge-text = #'("rall " . "")
103 c2\startTextSpan b c\stopTextSpan a
106 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
107 c2\startTextSpan b c\stopTextSpan a
112 @cindex textSpannerUp
113 @code{textSpannerUp},
114 @cindex textSpannerDown
115 @code{textSpannerDown},
116 @cindex textSpannerNeutral
117 @code{textSpannerNeutral}.
122 Program reference: @internalsref{TextSpanner}.
124 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
128 @subsection Text marks
130 @cindex coda on bar line
131 @cindex segno on bar line
132 @cindex fermata on bar line
133 @cindex bar lines, symbols on
136 The @code{\mark} command is primarily used for
137 @ref{Rehearsal marks},
138 but it can also be used to put signs like coda,
139 segno, and fermata on a bar line. Use @code{\markup} to
140 access the appropriate symbol
142 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
143 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
148 @code{\mark} is only typeset above the top stave of the score. If
149 you specify the @code{\mark} command at a bar line, the resulting
150 mark is placed above the bar line. If you specify it in the middle
151 of a bar, the resulting mark is positioned between notes. If it is
152 specified before the beginning of a score line, it is placed
153 before the first note of the line. Finally, if the mark occurs at
154 a line break, the mark will be printed at the
155 beginning of the next line.
156 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
157 @c delete this sentence. -gp
158 If there is no next line, then the mark will not be printed at all.
163 To print the mark at the end of the current line, use
166 \override Score.RehearsalMark
167 #'break-visibility = #begin-of-line-invisible
170 @code{\mark} is often useful for adding text to the end of bar. In
171 such cases, changing the @code{#'self-alignment} is very useful
173 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
174 \override Score.RehearsalMark
175 #'break-visibility = #begin-of-line-invisible
177 \once \override Score.RehearsalMark #'self-alignment-X = #right
178 \mark "D.S. al Fine "
184 Program reference: @internalsref{RehearsalMark}.
188 @subsection Text markup
195 Use @code{\markup} to typeset text. Commands are entered with the
198 @lilypond[quote,verbatim,fragment,relative=1]
200 c1_\markup { hi there }
201 c1^\markup { hi \bold there, is \italic anyone home? }
205 See @ref{Overview of text markup commands} for a list of all
208 @code{\markup} is primarily used for @internalsref{TextScript}s,
209 but it can also be used anywhere text is called in lilypond
211 @lilypond[quote,verbatim]
212 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
215 \override Score.RehearsalMark
216 #'break-visibility = #begin-of-line-invisible
217 \override Score.RehearsalMark #'self-alignment-X = #right
219 \set Staff.instrument = \markup{ \column{ Alto solo } }
220 c2^\markup{ don't be \flat }
221 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
223 a2\mark \markup{ \large \bold Fine }
227 \addlyrics { bar, foo \markup{ \italic bar! } }
231 Text can also be placed on its own, away from any @code{\score}
232 block. This is primarily used in a @code{\book} (see
233 @ref{Multiple movements}).
235 @lilypond[quote,raggedright,verbatim]
236 \markup{ Here is some text. }
239 @cindex font switching
241 The markup in the example demonstrates font switching commands. The
242 command @code{\bold} and @code{\italic} apply to the first following
243 word only; to apply a command to more than one word, enclose the
247 \markup @{ \bold @{ hi there @} @}
251 For clarity, you can also do this for single arguments, e.g.,
254 \markup @{ is \italic @{ anyone @} home @}
257 In markup mode you can compose expressions, similar to mathematical
258 expressions, XML documents, and music expressions. You can stack
259 expressions grouped vertically with the command @code{\column}.
260 Similarly, @code{\center-align} aligns texts by their center lines:
262 @lilypond[quote,verbatim,fragment,relative=1]
263 c1^\markup { \column { a bbbb \line { c d } } }
264 c1^\markup { \center-align { a bbbb c } }
265 c1^\markup { \line { a b c } }
268 Lists with no previous command are not kept distinct. The expression
271 \center-align @{ @{ a b @} @{ c d @} @}
279 \center-align @{ a b c d @}
284 To keep lists of words distinct, please use quotes @code{"} or
285 the @code{\line} command
287 @lilypond[quote,verbatim,fragment,relative=1]
289 c4^\markup{ \center-align { on three lines } }
290 c4^\markup{ \center-align { "all one line" } }
291 c4^\markup{ \center-align { { on three lines } } }
292 c4^\markup{ \center-align { \line { on one line } } }
295 Markups can be stored in variables and these variables
296 may be attached to notes, like
298 allegro = \markup @{ \bold \large @{ Allegro @} @}
299 @{ a^\allegro b c d @}
302 Some objects have alignment procedures of their own, which cancel out
303 any effects of alignments applied to their markup arguments as a
304 whole. For example, the @internalsref{RehearsalMark} is horizontally
305 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
308 In addition, vertical placement is performed after creating the
309 text markup object. If you wish to move an entire piece of markup,
310 you need to use the #'padding property or create an "anchor" point
311 inside the markup (generally with @code{\hspace #0}).
313 @lilypond[quote,verbatim,fragment,relative=1]
315 c'4^\markup{ \raise #5 "not raised" }
316 \once \override TextScript #'padding = #3
317 c'4^\markup{ raised }
318 c'4^\markup{ \hspace #0 \raise #1.5 raised }
324 This manual: @ref{Overview of text markup commands}.
326 Program reference: @internalsref{TextScript}.
328 Init files: @file{scm/@/new@/-markup@/.scm}.
333 Kerning or generation of ligatures is only done when the @TeX{}
334 backend is used. In this case, LilyPond does not account for them so
335 texts will be spaced slightly too wide.
337 Syntax errors for markup mode are confusing.
341 @subsection Text encoding
343 LilyPond uses the Pango library to format multi-lingual texts, and
344 does not perform any input-encoding conversions. This means that any
345 text, be it title, lyric text, or musical instruction containing
346 non-ASCII characters, must be utf-8. Easiest to enter such texts is
347 by using a Unicode-aware editor, and save using utf-8 encoding. Most
348 popular modern editors have utf-8 support, for example, vim, Emacs,
351 Depending on the fonts installed, the following fragment shows Hebrew
358 @lilypondfile[fontload]{utf-8.ly}
360 The @TeX{} backend does not handle encoding specially at all. Strings
361 in the input are put in the output as-is. Extents of text items in the
362 @TeX{} backend, are determined by reading a file created via the
363 @file{texstr} backend,
366 lilypond -b texstr input/les-nereides.ly
367 latex les-nereides.texstr
370 The last command produces @file{les-nereides.textmetrics}, which is
371 read when you execute
374 lilypond -b tex input/les-nereides.ly
377 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
378 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
379 interpreting non-ASCII strings.
381 To use a Unicode escape sequence, use
384 #(ly:export (ly:wide-char->utf-8 #x2014))
390 @inputfileref{input/regression,utf-8.ly}
394 @subsection Nested scores
396 It is possible to nest music inside markups, by adding a @code{\score}
397 block to a markup expression. Such a score must contain a @code{\layout}
400 @lilypond[quote,verbatim,raggedright]
404 \relative { c4 d e f }
413 @node Overview of text markup commands
414 @subsection Overview of text markup commands
416 The following commands can all be used inside @code{\markup @{ @}}.
418 @include markup-commands.tely
422 @subsection Font selection
424 @cindex font selection
425 @cindex font magnification
426 @cindex @code{font-interface}
428 By setting the object properties described below, you can select a
429 font from the preconfigured font families. LilyPond has default
430 support for the feta music fonts. Text fonts are selected through
431 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
432 the sans and typewriter to whatever the Pango installation defaults
437 @item @code{font-encoding}
438 is a symbol that sets layout of the glyphs. This should only be set to
439 select different types of non-text fonts, eg.
441 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
442 standard music font, including ancient glyphs, @code{fetaDynamic} for
443 dynamic signs and @code{fetaNumber} for the number font.
445 @item @code{font-family}
446 is a symbol indicating the general class of the typeface. Supported are
447 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
449 @item @code{font-shape}
450 is a symbol indicating the shape of the font. There are typically
451 several font shapes available for each font family. Choices are
452 @code{italic}, @code{caps}, and @code{upright}.
454 @item @code{font-series}
455 is a symbol indicating the series of the font. There are typically
456 several font series for each font family and shape. Choices are
457 @code{medium} and @code{bold}.
461 Fonts selected in the way sketched above come from a predefined style
462 sheet. If you want to use a font from outside the style sheet,
464 @code{font-name} property,
466 @lilypond[fragment,verbatim]
468 \override Staff.TimeSignature #'font-name = #"Charter"
469 \override Staff.TimeSignature #'font-size = #2
472 \override #'(font-name . "Vera Bold")
473 { This text is in Vera Bold }
479 Any font can be used, as long as it is available to Pango/FontConfig.
481 The size of the font may be set with the @code{font-size}
482 property. The resulting size is taken relative to the
483 @code{text-font-size} as defined in the @code{\paper} block.
486 @cindex font magnification
489 It is also possible to change the default font family for the entire
490 document. This is done by calling the @code{make-pango-font-tree} from
491 within the @code{\paper} block. The function takes names for the font
492 families to use for roman, sans serif and monospaced text. For
495 @cindex font families, setting
504 (make-pango-font-tree "Times New Roman"
511 c'^\markup { roman: foo \sans bla \typewriter bar }
515 @c we don't do Helvetica / Courier, since GS incorrectly loads
522 Examples: @file{ly/@/font@/-family@/-override.ly}
525 @node New dynamic marks
526 @subsection New dynamic marks
528 It is possible to print new dynamic marks or text that should be aligned
529 with dynamics. Use @code{make-dynamic-script} to create these marks.
531 @cindex make-dynamic-script
533 @lilypond[quote,verbatim,raggedright]
534 sfzp = #(make-dynamic-script "sfzp")
540 @cindex Dynamics, editorial
541 @cindex Dynamics, parenthesis
543 It is also possible to print dynamics in round parenthesis or square
544 brackets. These are often used for adding editorial dynamics.
546 @lilypond[quote,verbatim,raggedright]
547 rndf = \markup{ \center-align {\line { \bold{\italic (}
548 \dynamic f \bold{\italic )} }} }
549 boxf = \markup{ \bracket { \dynamic f } }
550 { c'1_\rndf c'1_\boxf }
555 @node Preparing parts
556 @section Preparing parts
558 This section describes various notation that are useful for preparing
562 * Multi measure rests::
567 * Instrument transpositions::
569 * Different editions from one source::
573 @node Multi measure rests
574 @subsection Multi measure rests
576 @cindex multi measure rests
577 @cindex full measure rests
578 @cindex Rests, multi measure
579 @cindex Rests, full measure
580 @cindex whole rests for a full measure
583 Rests for one full measure (or many bars) are entered using `@code{R}'. It
584 is specifically meant for full bar rests and for entering parts: the rest
585 can expand to fill a score with rests, or it can be printed as a single
586 multi-measure rest. This expansion is controlled by the property
587 @code{Score.skipBars}. If this is set to true, empty measures will not
588 be expanded, and the appropriate number is added automatically
590 @lilypond[quote,raggedright,fragment,verbatim]
591 \time 4/4 r1 | R1 | R1*2
592 \set Score.skipBars = ##t R1*17 R1*4
595 The @code{1} in @code{R1} is similar to the duration notation used for
596 notes. Hence, for time signatures other than 4/4, you must enter other
597 durations. This can be done with augmentation dots or fractions
599 @lilypond[quote,raggedright,fragment,verbatim]
600 \set Score.skipBars = ##t
609 An @code{R} spanning a single measure is printed as either a whole rest
610 or a breve, centered in the measure regardless of the time signature.
612 If there are only a few measures of rest, LilyPond prints ``church rests''
613 (a series of rectangles) in the staff. To replace that with a simple
614 rest, use @code{MultiMeasureRest.expand-limit}.
616 @lilypond[quote,raggedright,fragment,verbatim]
617 \set Score.skipBars = ##t
619 \override MultiMeasureRest #'expand-limit = 1
623 @cindex text on multi-measure rest
624 @cindex script on multi-measure rest
625 @cindex fermata on multi-measure rest
627 Texts can be added to multi-measure rests by using the
628 @var{note}-@code{markup} syntax @ref{Text markup}.
629 A variable (@code{\fermataMarkup}) is provided for
632 @lilypond[quote,raggedright,verbatim,fragment]
633 \set Score.skipBars = ##t
635 R2.*10^\markup { \italic "ad lib." }
639 Warning! This text is created by @code{MultiMeasureRestText}, not
642 @lilypond[quote,raggedright,verbatim,fragment]
643 \override TextScript #'padding = #5
645 \override MultiMeasureRestText #'padding = #5
649 If you want to have text on the left end of a multi-measure rest,
650 attach the text to a zero-length skip note, i.e.,
660 Program reference: @internalsref{MultiMeasureRestMusicGroup},
661 @internalsref{MultiMeasureRest}.
663 The layout object @internalsref{MultiMeasureRestNumber} is for the
664 default number, and @internalsref{MultiMeasureRestText} for user
670 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
671 over multi-measure rests. And the pitch of multi-measure rests (or
672 staff-centered rests) can not be influenced.
674 @cindex condensing rests
676 There is no way to automatically condense multiple rests into a single
677 multi-measure rest. Multi-measure rests do not take part in rest
680 Be careful when entering multi-measure rests followed by whole
681 notes. The following will enter two notes lasting four measures each
685 When @code{skipBars} is set, the result will look OK, but the bar
686 numbering will be off.
689 @node Metronome marks
690 @subsection Metronome marks
693 @cindex beats per minute
694 @cindex metronome marking
696 Metronome settings can be entered as follows
698 \tempo @var{duration} = @var{per-minute}
701 In the MIDI output, they are interpreted as a tempo change. In the
702 layout output, a metronome marking is printed
703 @cindex @code{\tempo}
704 @lilypond[quote,raggedright,verbatim,fragment]
711 To change the tempo in the MIDI output without printing anything, make
712 the metronome marking invisible
714 \once \override Score.MetronomeMark #'transparent = ##t
717 To print other metronome markings, use these markup commands
718 @lilypond[quote,raggedright,verbatim,relative,fragment]
721 \smaller \general-align #Y #DOWN \note #"16." #1
723 \smaller \general-align #Y #DOWN \note #"8" #1
728 See @ref{Text markup} for more details.
733 Program reference: @internalsref{MetronomeMark}.
738 Collisions are not checked. If you have notes above the top line of
739 the staff (or notes with articulations, slurs, text, etc), then the
740 metronome marking may be printed on top of musical symbols. If this
741 occurs, increase the padding of the metronome mark to place it
742 further away from the staff.
745 \override Score.MetronomeMark #'padding = #2.5
749 @node Rehearsal marks
750 @subsection Rehearsal marks
752 @cindex Rehearsal marks
755 To print a rehearsal mark, use the @code{\mark} command
757 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
766 The letter@tie{}`I' is skipped in accordance with engraving traditions.
767 If you wish to include the letter `I', then use
770 \set Score.markFormatter = #format-mark-alphabet
773 The mark is incremented automatically if you use @code{\mark
774 \default}, but you can also use an integer argument to set the mark
775 manually. The value to use is stored in the property
776 @code{rehearsalMark}.
778 The style is defined by the property @code{markFormatter}. It is a
779 function taking the current mark (an integer) and the current context
780 as argument. It should return a markup object. In the following
781 example, @code{markFormatter} is set to a canned procedure. After a
782 few measures, it is set to function that produces a boxed number.
784 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
785 \set Score.markFormatter = #format-mark-numbers
788 \set Score.markFormatter = #format-mark-box-numbers
794 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
795 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
796 @code{format-mark-letters} and @code{format-mark-box-letters}.
797 These can be used as inspiration for other formatting functions.
802 Program reference: @internalsref{RehearsalMark}.
804 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
805 definition of @code{format-mark-numbers} and
806 @code{format-mark-letters}. They can be used as inspiration for other
807 formatting functions.
809 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
811 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
815 @subsection Bar numbers
818 @cindex measure numbers
819 @cindex @code{currentBarNumber}
821 Bar numbers are printed by default at the start of the line. The
822 number itself is stored in the @code{currentBarNumber} property, which
823 is normally updated automatically for every measure.
825 Bar numbers can be typeset at regular intervals instead of at the
826 beginning of each line. This is illustrated in the following example,
827 whose source is available as
828 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
830 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
832 Bar numbers can be typeset manually by tweaking the
833 @code{markFormatter} property
835 @lilypond[verbatim,raggedright,quote]
837 \set Score.markFormatter
838 = #(lambda (mark context)
841 (number->string (ly:context-property context
842 'currentBarNumber)))))
844 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
848 Bar numbers can be manually changed by setting the
849 @code{Staff.currentBarNumber} property
851 @lilypond[verbatim,raggedright,quote]
853 \repeat unfold 4 {c4 c c c} \break
854 \set Score.currentBarNumber = #50
855 \repeat unfold 4 {c4 c c c}
862 Program reference: @internalsref{BarNumber}.
865 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
866 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
871 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
872 there is one at the top. To solve this, the
873 @code{padding} property of @internalsref{BarNumber} can be
874 used to position the number correctly.
877 @node Instrument names
878 @subsection Instrument names
880 In an orchestral score, instrument names are printed at the left side
883 This can be achieved by setting @internalsref{Staff}.@code{instrument}
884 and @internalsref{Staff}.@code{instr}. This will print a string before
885 the start of the staff. For the first staff, @code{instrument} is
886 used, for the following ones, @code{instr} is used.
888 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
889 \set Staff.instrument = "Ploink "
890 \set Staff.instr = "Plk "
896 You can also use markup texts to construct more complicated instrument
899 @lilypond[quote,fragment,verbatim,raggedright]
900 \set Staff.instrument = \markup {
901 \column { "Clarinetti"
902 \line { "in B" \smaller \flat } } }
906 If you wish to center the instrument names, you must center all of them
908 @lilypond[quote,verbatim,raggedright]
911 \set Staff.instrument = \markup {
912 \center-align { "Clarinetti"
913 \line { "in B" \smaller \flat } } }
917 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
924 For longer instrument names, it may be useful to increase the
925 @code{indent} setting in the @code{\layout} block.
929 Program reference: @internalsref{InstrumentName}.
933 When you put a name on a grand staff or piano staff, the width of the
934 brace is not taken into account. The following property setting can be
935 used to move the instrument names to the left, in such situations.
938 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
942 @node Instrument transpositions
943 @subsection Instrument transpositions
945 @cindex transposition, MIDI
946 @cindex transposition, instrument
948 The key of a transposing instrument can also be specified. This
949 applies to many wind instruments, for example, clarinets (B-flat, A, and
950 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
952 The transposition is entered after the keyword @code{\transposition}
955 \transposition bes %% B-flat clarinet
959 This command sets the property @code{instrumentTransposition}. The value of
960 this property is used for MIDI output and quotations. It does not
961 affect how notes are printed in the current staff. To change the printed
962 output, see @ref{Transpose}.
964 The pitch to use for @code{\transposition} should correspond to the
965 transposition of the notes. For example, when entering a score in
966 concert pitch, typically all voices are entered in C, so
967 they should be entered as
980 The command @code{\transposition} should be used when the music is
981 entered from a (transposed) orchestral part. For example, in
982 classical horn parts, the tuning of the instrument is often changed
983 during a piece. When copying the notes from the part, use
984 @code{\transposition}, e.g.,
996 @node Ottava brackets
997 @subsection Ottava brackets
999 `Ottava' brackets introduce an extra transposition of an octave for
1000 the staff. They are created by invoking the function
1001 @code{set-octavation}
1007 @lilypond[quote,raggedright,verbatim,fragment]
1017 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1018 (for 15ma) as arguments. Internally the function sets the properties
1019 @code{ottavation} (e.g., to @code{"8va"}) and
1020 @code{centralCPosition}. For overriding the text of the bracket, set
1021 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1023 @lilypond[quote,raggedright,verbatim]
1026 \set Staff.ottavation = #"8"
1034 Program reference: @internalsref{OttavaBracket}.
1036 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1037 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1042 @code{set-octavation} will get confused when clef changes happen
1043 during an octavation bracket.
1046 @node Different editions from one source
1047 @subsection Different editions from one source
1052 The @code{\tag} command marks music expressions with a name. These
1053 tagged expressions can be filtered out later. With this mechanism it
1054 is possible to make different versions of the same music source.
1056 In the following example, we see two versions of a piece of music, one
1057 for the full score, and one with cue notes for the instrumental part
1073 The same can be applied to articulations, texts, etc.: they are
1076 -\tag #@var{your-tag}
1078 to an articulation, for example,
1083 This defines a note with a conditional fingering indication.
1086 @cindex removeWithTag
1087 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1088 commands, tagged expressions can be filtered. For example,
1092 \keepWithTag #'score @var{the music}
1093 \keepWithTag #'part @var{the music}
1098 @lilypondfile[raggedright,quote]{tag-filter.ly}
1100 The argument of the @code{\tag} command should be a symbol, or a list
1101 of symbols, for example,
1103 \tag #'(original-part transposed-part) @dots{}
1109 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1114 Multiple rests are not merged if you create the score with both tagged
1119 @node Orchestral music
1120 @section Orchestral music
1122 Orchestral music involves some special notation, both in the full
1123 score and the individual parts. This section explains how to tackle
1124 some common problems in orchestral music.
1127 * Automatic part combining::
1129 * Quoting other voices::
1130 * Formatting cue notes::
1131 * Aligning to cadenzas::
1135 @node Automatic part combining
1136 @subsection Automatic part combining
1137 @cindex automatic part combining
1138 @cindex part combiner
1140 Automatic part combining is used to merge two parts of music onto a
1141 staff. It is aimed at typesetting orchestral scores. When the two
1142 parts are identical for a period of time, only one is shown. In
1143 places where the two parts differ, they are typeset as separate
1144 voices, and stem directions are set automatically. Also, solo and
1145 @emph{a due} parts are identified and can be marked.
1147 The syntax for part combining is
1150 \partcombine @var{musicexpr1} @var{musicexpr2}
1154 The following example demonstrates the basic functionality of the part
1155 combiner: putting parts on one staff, and setting stem directions and
1158 @lilypond[quote,verbatim,raggedright,fragment]
1159 \new Staff \partcombine
1160 \relative g' { g g a( b) c c r r }
1161 \relative g' { g g r4 r e e g g }
1164 The first @code{g} appears only once, although it was
1165 specified twice (once in each part). Stem, slur, and tie directions are
1166 set automatically, depending whether there is a solo or unisono. The
1167 first part (with context called @code{one}) always gets up stems, and
1168 `Solo', while the second (called @code{two}) always gets down stems and
1171 If you just want the merging parts, and not the textual markings, you
1172 may set the property @code{printPartCombineTexts} to false
1174 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1176 \set Staff.printPartCombineTexts = ##f
1178 \relative g' { g a( b) r }
1179 \relative g' { g r4 r f }
1183 To change the text that is printed for solos or merging, you may
1184 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1187 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1189 \set Score.soloText = #"ichi"
1190 \set Score.soloIIText = #"ni"
1191 \set Score.aDueText = #"tachi"
1193 \relative g' { g4 g a( b) r }
1194 \relative g' { g4 g r r f }
1198 Both arguments to @code{\partcombine} will be interpreted as
1199 @internalsref{Voice} contexts. If using relative octaves,
1200 @code{\relative} should be specified for both music expressions, i.e.,
1204 \relative @dots{} @var{musicexpr1}
1205 \relative @dots{} @var{musicexpr2}
1209 A @code{\relative} section that is outside of @code{\partcombine} has
1210 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1214 Program reference: @internalsref{PartCombineMusic}.
1218 When @code{printPartCombineTexts} is set, when the two voices play the
1219 same notes on and off, the part combiner may typeset @code{a2} more
1220 than once in a measure.
1222 @code{\partcombine} cannot be inside @code{\times}.
1224 @code{\partcombine} cannot be inside @code{\relative}.
1226 Internally, the @code{\partcombine} interprets both arguments as
1227 @code{Voice}s named @code{one} and @code{two}, and then decides when
1228 the parts can be combined. Consequently, if the arguments switch to
1229 differently named @internalsref{Voice} contexts, the events in those
1234 @subsection Hiding staves
1236 @cindex Frenched scores
1237 @cindex Hiding staves
1239 In orchestral scores, staff lines that only have rests are usually
1240 removed; this saves some space. This style is called `French Score'.
1241 For @internalsref{Lyrics},
1242 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1243 switched on by default. When the lines of these contexts turn out
1244 empty after the line-breaking process, they are removed.
1246 For normal staves, a specialized @internalsref{Staff} context is
1247 available, which does the same: staves containing nothing (or only
1248 multi-measure rests) are removed. The context definition is stored in
1249 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1250 in this example disappears in the second line
1252 @lilypond[quote,raggedright,verbatim]
1254 \context { \RemoveEmptyStaffContext }
1259 \new Staff { e4 f g a \break c1 }
1260 \new Staff { c4 d e f \break R1 }
1265 The first system shows all staves in full. If empty staves should be
1266 removed from the first system too, set @code{remove-first} to true in
1267 @internalsref{VerticalAxisGroup}.
1270 \override Score.VerticalAxisGroup #'remove-first = ##t
1273 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1274 or @code{\RemoveEmptyRhythmicStaffContext}.
1276 Another application is making ossia sections, i.e., alternative
1277 melodies on a separate piece of staff, with help of a Frenched
1278 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1281 @node Quoting other voices
1282 @subsection Quoting other voices
1284 With quotations, fragments of other parts can be inserted into a part
1285 directly. Before a part can be quoted, it must be marked especially as
1286 quotable. This is done with the @code{\addquote} command.
1289 \addquote @var{name} @var{music}
1294 Here, @var{name} is an identifying string. The @var{music} is any kind
1295 of music. Here is an example of @code{\addquote}
1298 \addquote clarinet \relative c' @{
1303 This command must be entered at toplevel, i.e., outside any music
1306 After calling @code{\addquote}, the quotation may then be done with
1307 @code{\quoteDuring} or @code{\cueDuring},
1310 \quoteDuring #@var{name} @var{music}
1313 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1317 \quoteDuring #"clarinet" @{ s2. @}
1320 This would cite three quarter notes (the duration of @code{s2.}) of
1321 the previously added @code{clarinet} voice.
1324 More precisely, it takes the current time-step of the part being
1325 printed, and extracts the notes at the corresponding point of the
1326 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1327 should be the entire part of the voice to be quoted, including any
1328 rests at the beginning.
1330 Quotations take into account the transposition of both source and target
1331 instruments, if they are specified using the @code{\transposition} command.
1333 @lilypond[quote,raggedright,verbatim]
1334 \addquote clarinet \relative c' {
1340 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1344 The type of events that are present in cue notes can be trimmed with
1345 the @code{quotedEventTypes} property. The default value is
1346 @code{(note-event rest-event)}, which means that only notes and
1347 rests of the cued voice end up in the @code{\quoteDuring}.
1351 \set Staff.quotedEventTypes =
1352 #'(note-event articulation-event dynamic-event)
1356 will quote notes (but no rests), together with scripts and dynamics.
1360 Only the contents of the first @internalsref{Voice} occurring in an
1361 @code{\addquote} command will be considered for quotation, so
1362 @var{music} can not contain @code{\new} and @code{\context Voice}
1363 statements that would switch to a different Voice.
1365 Quoting grace notes is broken and can even cause LilyPond to crash.
1369 In this manual: @ref{Instrument transpositions}.
1371 Examples: @inputfileref{input/@/regression,quote@/.ly}
1372 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1374 Program reference: @internalsref{QuoteMusic}.
1377 @node Formatting cue notes
1378 @subsection Formatting cue notes
1380 The previous section deals with inserting notes from another voice.
1381 There is a more advanced music function called @code{\cueDuring},
1382 which makes formatting cue notes easier.
1387 \cueDuring #@var{name} #@var{updown} @var{music}
1390 This will insert notes from the part @var{name} into a
1391 @internalsref{Voice} called @code{cue}. This happens simultaneously
1392 with @var{music}, which usually is a rest. When the cue notes start,
1393 the staff in effect becomes polyphonic for a moment. The argument
1394 @var{updown} determines whether the cue notes should be notated as a
1395 first or second voice.
1398 @lilypond[verbatim,raggedright]
1401 \override Stem #'length-fraction = #0.8
1402 \override Beam #'thickness = #0.384
1403 \override Beam #'length-fraction = #0.8
1406 \addquote clarinet \relative {
1411 \new Staff \relative <<
1413 % setup a context for cue notes.
1414 \context Voice = cue { \smaller \skip 1*21 }
1416 \set Score.skipBars = ##t
1420 \cueDuring #"clarinet" #1 {
1429 Here are a couple of hints for successful cue notes
1433 Cue notes have smaller font sizes.
1435 the cued part is marked with the instrument playing the cue.
1437 when the original part takes over again, this should be marked with
1438 the name of the original instrument.
1440 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1442 @c Yes, this is good practice. Otherwise, the start of the original
1443 @c part can only be seen from the font size. This is not good enough
1444 @c for sight-reading. It is possilbe to use other
1445 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1450 Any other changes introduced by the cued part should also be
1451 undone. For example, if the cued instrument plays in a different clef,
1452 the original clef should be stated once again.
1457 @node Aligning to cadenzas
1458 @subsection Aligning to cadenzas
1460 In an orchestral context, cadenzas present a special problem:
1461 when constructing a score that includes a cadenza, all other
1462 instruments should skip just as many notes as the length of the
1463 cadenza, otherwise they will start too soon or too late.
1465 A solution to this problem are the functions @code{mmrest-of-length}
1466 and @code{skip-of-length}. These Scheme functions take a piece of music
1467 as argument, and generate a @code{\skip} or multi-rest, exactly as
1468 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1469 in the following example.
1471 @lilypond[verbatim,raggedright,quote]
1472 cadenza = \relative c' {
1473 c4 d8 << { e f g } \\ { d4. } >>
1478 \new Staff { \cadenza c'4 }
1480 #(ly:export (mmrest-of-length cadenza))
1489 @node Contemporary notation
1490 @section Contemporary notation
1492 In the 20th century, composers have greatly expanded the musical
1493 vocabulary. With this expansion, many innovations in musical notation
1494 have been tried. The book ``Music Notation in the 20th century'' by
1495 Kurt Stone gives a comprehensive overview (see @ref{Literature
1496 list}). In general, the use of new, innovative notation makes a piece
1497 harder to understand and perform and its use should therefore be
1498 avoided. For this reason, support for contemporary notation in
1499 LilyPond is limited.
1503 * Polymetric notation::
1504 * Time administration::
1506 * Special fermatas::
1507 * Special noteheads::
1514 @node Polymetric notation
1515 @subsection Polymetric notation
1517 Double time signatures are not supported explicitly, but they can be
1518 faked. In the next example, the markup for the time signature is
1519 created with a markup text. This markup text is inserted in the
1520 @internalsref{TimeSignature} grob.
1522 @lilypond[verbatim,raggedright]
1527 \musicglyph #"scripts.stopped"
1528 \bracket \column { "5" "8" }
1533 \override Staff.TimeSignature #'stencil = #Text_interface::print
1534 \override Staff.TimeSignature #'text = #tsMarkup
1536 c'2 \bar ":" c'4 c'4.
1540 Each staff can also have its own time signature. This is done by
1541 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1547 \remove "Timing_translator"
1548 \remove "Default_bar_line_engraver"
1552 \consists "Timing_translator"
1553 \consists "Default_bar_line_engraver"
1560 Now, each staff has its own time signature.
1573 c4. c8 c c c4. c8 c c
1578 @lilypond[quote,raggedright]
1582 \remove "Timing_translator"
1583 \remove "Default_bar_line_engraver"
1586 \consists "Timing_translator"
1587 \consists "Default_bar_line_engraver"
1602 c4. c8 c c c4. c8 c c
1608 A different form of polymetric notation is where note lengths have
1609 different values across staves.
1611 This notation can be created by setting a common time signature for
1612 each staff but replacing it manually using
1613 @code{timeSignatureFraction} to the desired fraction. Then the printed
1614 durations in each staff are scaled to the common time signature.
1615 The latter is done with @code{\compressMusic}, which is used similar
1616 to @code{\times}, but does not create a tuplet bracket. The syntax is
1618 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1623 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1624 used in parallel. In the second staff, shown durations are multiplied by
1625 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1626 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1628 @lilypond[quote,raggedright,verbatim,fragment]
1636 \set Staff.timeSignatureFraction = #'(9 . 8)
1637 \compressMusic #'(2 . 3)
1638 \repeat unfold 6 { c8[ c c] }
1642 \set Staff.timeSignatureFraction = #'(10 . 8)
1643 \compressMusic #'(3 . 5) {
1644 \repeat unfold 2 { c8[ c c] }
1645 \repeat unfold 2 { c8[ c] }
1646 | c4. c4. \times 2/3 { c8 c c } c4
1657 When using different time signatures in parallel, the spacing is
1658 aligned vertically, but bar lines distort the regular spacing.
1661 @node Time administration
1662 @subsection Time administration
1664 @cindex Time administration
1666 Time is administered by the @internalsref{Time_signature_engraver},
1667 which usually lives in the @internalsref{Score} context. The
1668 bookkeeping deals with the following variables
1671 @item currentBarNumber
1675 The length of the measures in the current time signature. For a 4/4
1676 time this is@tie{}1, and for 6/8 it is 3/4.
1678 @item measurePosition
1679 The point within the measure where we currently are. This quantity
1680 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1681 happens, @code{currentBarNumber} is incremented.
1684 If set to true, the above variables are updated for every time
1685 step. When set to false, the engraver stays in the current measure
1689 Timing can be changed by setting any of these variables explicitly.
1690 In the next example, the 4/4 time signature is printed, but
1691 @code{measureLength} is set to 5/4. After a while, the measure is
1692 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1693 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1694 3/8 arises because 5/4 normally has 10/8, but we have manually
1695 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1697 @lilypond[quote,raggedright,verbatim,relative,fragment]
1698 \set Score.measureLength = #(ly:make-moment 5 4)
1702 \set Score.measurePosition = #(ly:make-moment 7 8)
1710 @subsection Clusters
1714 A cluster indicates a continuous range of pitches to be played. They
1715 can be denoted as the envelope of a set of notes. They are entered by
1716 applying the function @code{makeClusters} to a sequence of
1718 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1719 \makeClusters { <c e > <b f'> }
1722 The following example (from
1723 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1726 @lilypondfile[raggedright,quote]{cluster.ly}
1728 Ordinary notes and clusters can be put together in the same staff,
1729 even simultaneously. In such a case no attempt is made to
1730 automatically avoid collisions between ordinary notes and clusters.
1734 Program reference: @internalsref{ClusterSpanner},
1735 @internalsref{ClusterSpannerBeacon},
1736 @internalsref{Cluster_spanner_engraver}.
1738 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1742 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1743 accurately. Use @code{<g a>8 <e a>8} instead.
1747 @node Special fermatas
1748 @subsection Special fermatas
1750 @cindex fermatas, special
1752 In contemporary music notation, special fermata symbols denote breaks
1753 of differing lengths. The following fermatas are supported
1755 @lilypond[quote,raggedright]
1778 \context Lyrics \lyricmode {
1779 \override LyricText #'font-family = #'typewriter
1780 "shortfermata" "fermata" "longfermata" "verylongfermata"
1785 See @ref{Articulations} for general instructions how to apply scripts
1786 such as fermatas to notes.
1789 @node Special noteheads
1790 @subsection Special noteheads
1792 Different noteheads are used by various instruments for various
1793 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1794 notes on guitar; diamonds are used for harmonics on string instruments,
1795 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1796 other notehead styles are produced by tweaking the property
1798 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1800 \override NoteHead #'style = #'cross
1802 \revert NoteHead #'style
1803 e d <c f\harmonic> <d a'\harmonic>
1807 To see all notehead styles, please see
1808 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1813 Program reference: @internalsref{NoteHead}.
1815 @node Pitched trills
1816 @subsection Pitched trills
1818 Trills that should be executed on an explicitly specified pitch can be
1819 typeset with the command @code{pitchedTrill},
1821 @lilypond[raggedright,verbatim,fragment]
1822 \pitchedTrill c'4\startTrillSpan fis
1826 The first argument is the main note. The absolute pitch of the second
1827 is printed as a stemless note head in parentheses.
1829 @node Feathered beams
1830 @subsection Feathered beams
1832 Feathered beams are not supported natively, but they can be faked by
1833 forcing two beams to overlap. Here is an example,
1835 @c don't change relative setting witout changing positions!
1836 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1841 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1846 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1854 @subsection Improvisation
1856 Improvisation is sometimes denoted with slashed note heads. Such note
1857 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1858 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1862 \set squashedPosition = #0
1863 \override NoteHead #'style = #'slash
1867 switches on the slashes.
1869 There are shortcuts @code{\improvisationOn} (and an accompanying
1870 @code{\improvisationOff}) for this command sequence. They are used in
1871 the following example
1873 @lilypond[verbatim,raggedright,quote]
1875 \consists Pitch_squash_engraver
1877 e8 e g a a16(bes)(a8) g \improvisationOn
1880 ~fis2 \improvisationOff a16(bes) a8 g e
1885 @node Educational use
1886 @section Educational use
1888 With the amount of control that LilyPond offers, one can make great
1889 teaching tools in addition to great musical scores.
1893 * Blank music sheet::
1895 * Shape note heads ::
1896 * Easy Notation note heads::
1897 * Analysis brackets::
1898 * Coloring objects::
1902 @subsection Balloon help
1904 Elements of notation can be marked and named with the help of a square
1905 balloon. The primary purpose of this feature is to explain notation.
1907 The following example demonstrates its use.
1909 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1912 #(add-balloon-text 'NoteHead "heads, or tails?"
1919 The function @code{add-balloon-text} takes the name of a grob, the
1920 label to print, and the position where to put the label relative to
1921 the object. In the above example, the text ``heads or tails?'' ends
1922 3 spaces below and 1 space to the right of the marked head.
1925 @cindex notation, explaining
1929 Program reference: @internalsref{text-balloon-interface}.
1931 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1936 @node Blank music sheet
1937 @subsection Blank music sheet
1939 A blank music sheet can be produced also by using invisible notes, and
1940 removing @code{Bar_number_engraver}.
1943 @lilypond[quote,verbatim]
1945 \repeat unfold 2 % Change this for more lines.
1950 \override TimeSignature #'transparent = ##t
1951 defaultBarType = #""
1952 \remove Bar_number_engraver
1954 \context Staff \emptymusic
1955 \context TabStaff \emptymusic
1961 @subsection Hidden notes
1963 @cindex Hidden notes
1964 @cindex Invisible notes
1965 @cindex Transparent notes
1967 @cindex @code{\hideNotes}
1968 @cindex @code{\unHideNotes}
1969 Hidden (or invisible or transparent) notes can be useful in preparing theory
1970 or composition exercises.
1972 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1980 Hidden notes are also great for performing weird tricks. For example,
1981 slurs cannot be attached to rests or spacer rests, but you may wish
1982 to include that in your score -- string instruments use this notation
1983 when doing pizzicato to indicate that the note should ring for as long
1986 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1989 c4^"pizz"( \hideNotes c)
1990 \unHideNotes c( \hideNotes c)
1997 @node Shape note heads
1998 @subsection Shape note heads
2000 In shape note head notation, the shape of the note head corresponds
2001 to the harmonic function of a note in the scale. This notation was
2002 popular in the 19th century American song books.
2004 Shape note heads can be produced by setting @code{\aikenHeads} or
2005 @code{\sacredHarpHeads}, depending on the style desired.
2007 @lilypond[verbatim,relative=1,fragment]
2014 Shapes are determined on the step in the scale, where the base of the
2015 scale is determined by the @code{\key} command
2018 @findex shapeNoteStyles
2020 @findex \sacredHarpHeads
2022 Shape note heads are implemented through the @code{shapeNoteStyles}
2023 property. Its value is a vector of symbols. The k-th element indicates
2024 the style to use for the k-th step of the scale. Arbitrary
2025 combinations are possible, eg.,
2028 @lilypond[verbatim,relative=1,fragment]
2029 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2034 @node Easy Notation note heads
2035 @subsection Easy Notation note heads
2037 @cindex easy notation
2040 The `easy play' note head includes a note name inside the head. It is
2041 used in music for beginners
2043 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
2048 The command @code{\setEasyHeads} overrides settings for the
2049 @internalsref{NoteHead} object. To make the letters readable, it has
2050 to be printed in a large font size. To print with a larger font, see
2051 @ref{Setting global staff size}.
2055 @cindex @code{\setEasyHeads}
2056 @code{\setEasyHeads}
2059 @node Analysis brackets
2060 @subsection Analysis brackets
2062 @cindex phrasing brackets
2063 @cindex musicological analysis
2064 @cindex note grouping bracket
2066 Brackets are used in musical analysis to indicate structure in musical
2067 pieces. LilyPond supports a simple form of nested horizontal
2068 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2069 to @internalsref{Staff} context. A bracket is started with
2070 @code{\startGroup} and closed with @code{\stopGroup}
2072 @lilypond[quote,raggedright,verbatim]
2075 c4\startGroup\startGroup
2078 c4\stopGroup\stopGroup
2082 \Staff \consists "Horizontal_bracket_engraver"
2088 Program reference: @internalsref{HorizontalBracket}.
2090 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2093 @node Coloring objects
2094 @subsection Coloring objects
2096 Individual objects may be assigned colors. You may use the
2097 color names listed in the @ref{List of colors}.
2099 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2100 \override NoteHead #'color = #red
2102 \override NoteHead #'color = #(x11-color 'LimeGreen)
2104 \override Stem #'color = #blue
2108 The full range of colors defined for X11 can be accessed by using the
2109 scheme function x11-color. The function takes one argument that can be a
2113 \override Beam #'color = #(x11-color 'MediumTurquoise)
2119 \override Beam #'color = #(x11-color "MediumTurquoise")
2122 The first form is quicker to write and is more efficient. However, using
2123 the second form it is possible to access X11 colors by the multi-word
2127 \override Beam #'color = #(x11-color "medium turquoise")
2130 If x11-color cannot make sense of the parameter then the color returned
2131 defaults to black. It should be obvious from the final score that
2134 This example, illustrates the use of x11-color. Notice that the stem
2135 color remains black after being set to (x11-color 'Boggle), which is
2136 deliberate nonsense.
2138 @lilypond[quote,raggedright,verbatim]
2140 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2141 \set Staff.instrument = \markup {
2142 \with-color #(x11-color 'navy) "Clarinet"
2146 \override Beam #'color = #(x11-color "medium turquoise")
2148 \override NoteHead #'color = #(x11-color "LimeGreen")
2150 \override Stem #'color = #(x11-color 'Boggle)
2158 Appendix: @ref{List of colors}.
2162 Not all x11 colors are distinguishable in a web browser. For web use
2163 normal colors are recommended.
2165 An x11 color is not necessarily exactly the same shade as a similarly
2169 @node Automatic notation
2170 @section Automatic notation
2172 This section describes how to change the way that accidentals and
2173 beams are automatically displayed.
2175 FIXME: this might get moved into Changing Defaults. Please send
2176 opinions to lilypond-devel. Thanks! :)
2179 * Automatic accidentals::
2180 * Setting automatic beam behavior::
2183 @node Automatic accidentals
2184 @subsection Automatic accidentals
2185 @cindex Automatic accidentals
2187 Common rules for typesetting accidentals have been placed in a
2188 function. This function is called as follows
2190 @cindex @code{set-accidental-style}
2192 #(set-accidental-style 'STYLE #('CONTEXT#))
2195 The function can take two arguments: the name of the accidental style,
2196 and an optional argument that denotes the context that should be
2197 changed. If no context name is supplied, @code{Staff} is the default,
2198 but you may wish to apply the accidental style to a single @code{Voice}
2201 The following accidental styles are supported
2204 This is the default typesetting behavior. It corresponds
2205 to 18th century common practice: Accidentals are
2206 remembered to the end of the measure in which they occur and
2207 only on their own octave.
2210 The normal behavior is to remember the accidentals on
2211 Staff-level. This variable, however, typesets accidentals
2212 individually for each voice. Apart from that, the rule is similar to
2215 As a result, accidentals from one voice do not get canceled in other
2216 voices, which is often an unwanted result
2218 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2220 #(set-accidental-style 'voice)
2227 The @code{voice} option should be used if the voices
2228 are to be read solely by individual musicians. If the staff is to be
2229 used by one musician (e.g., a conductor) then
2230 @code{modern} or @code{modern-cautionary}
2231 should be used instead.
2234 @cindex @code{modern} style accidentals
2235 This rule corresponds to the common practice in the 20th century. This rule
2236 prints the same accidentals as @code{default}, but temporary
2237 accidentals also are canceled in other octaves. Furthermore,
2238 in the same octave, they also get canceled in the following
2241 @lilypond[quote,raggedright,fragment,verbatim]
2242 #(set-accidental-style 'modern)
2243 cis' c'' cis'2 | c'' c'
2246 @item @code{modern-cautionary}
2247 @cindex @code{modern-cautionary}
2248 This rule is similar to @code{modern}, but the ``extra'' accidentals
2249 (the ones not typeset by @code{default}) are typeset as cautionary
2250 accidentals. They are printed in reduced size or with parentheses
2251 @lilypond[quote,raggedright,fragment,verbatim]
2252 #(set-accidental-style 'modern-cautionary)
2253 cis' c'' cis'2 | c'' c'
2256 @cindex @code{modern-voice}
2258 This rule is used for multivoice accidentals to be read both by musicians
2259 playing one voice and musicians playing all voices. Accidentals are
2260 typeset for each voice, but they @emph{are} canceled across voices in
2261 the same @internalsref{Staff}.
2263 @cindex @code{modern-voice-cautionary}
2264 @item modern-voice-cautionary
2265 This rule is the same as @code{modern-voice}, but with the extra
2266 accidentals (the ones not typeset by @code{voice}) typeset
2267 as cautionaries. Even though all accidentals typeset by
2268 @code{default} @emph{are} typeset by this variable,
2269 some of them are typeset as cautionaries.
2272 @cindex @code{piano} accidentals
2273 This rule reflects 20th century practice for piano notation. Very similar to
2274 @code{modern} but accidentals also get canceled
2275 across the staves in the same @internalsref{GrandStaff} or
2276 @internalsref{PianoStaff}.
2278 @item piano-cautionary
2279 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2280 Same as @code{#(set-accidental-style 'piano)} but with the extra
2281 accidentals typeset as cautionaries.
2284 @cindex @code{no-reset} accidental style
2285 This is the same as @code{default} but with accidentals lasting
2286 ``forever'' and not only until the next measure
2287 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2288 #(set-accidental-style 'no-reset)
2293 This is sort of the opposite of @code{no-reset}: Accidentals
2294 are not remembered at all---and hence all accidentals are
2295 typeset relative to the key signature, regardless of what was
2298 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2299 #(set-accidental-style 'forget)
2300 \key d\major c4 c cis cis d d dis dis
2307 Program reference: @internalsref{Accidental_engraver},
2308 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2313 Simultaneous notes are considered to be entered in sequential
2314 mode. This means that in a chord the accidentals are typeset as if the
2315 notes in the chord happened once at a time - in the order in which
2316 they appear in the input file.
2318 This is a problem when accidentals in a chord depend on each other,
2319 which does not happen for the default accidental style. The problem
2320 can be solved by manually inserting @code{!} and @code{?} for the
2324 @node Setting automatic beam behavior
2325 @subsection Setting automatic beam behavior
2327 @cindex @code{autoBeamSettings}
2328 @cindex @code{(end * * * *)}
2329 @cindex @code{(begin * * * *)}
2330 @cindex automatic beams, tuning
2331 @cindex tuning automatic beaming
2333 @c [TODO: use \applyContext]
2335 In normal time signatures, automatic beams can start on any note but can
2336 only end in a few positions within the measure: beams can end on a beat,
2337 or at durations specified by the properties in
2338 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2339 consist of a list of rules for where beams can begin and end. The
2340 default @code{autoBeamSettings} rules are defined in
2341 @file{scm/@/auto@/-beam@/.scm}.
2343 In order to add a rule to the list, use
2345 #(override-auto-beam-setting '(be p q n m) a b [context])
2350 @item @code{be} is either "begin" or "end".
2352 @item @code{b/q} is the duration of the note for which you want
2353 to add a rule. A beam is considered to have the duration of its
2354 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2355 have this apply to any beam.
2357 @item @code{n/m} is the position in the time signature to which
2358 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2359 to have this apply in any time signature.
2361 @item @code{a/b} is the position in the bar at which the beam should end.
2363 @item @code{context} is optional, and it specifies the context at which
2364 the change should be made. The default is @code{'Voice}.
2365 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2366 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2370 For example, if automatic beams should always end on the first quarter
2374 #(override-auto-beam-setting '(end * * * *) 1 4)
2377 You can force the beam settings to only take effect on beams whose shortest
2378 note is a certain duration
2380 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2382 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2384 a32 a a a a16 a a a a a |
2385 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2386 a32 a a a a16 a a a a a |
2389 You can force the beam settings to only take effect in certain time
2392 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2394 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2402 You can also remove a previously set beam-ending rule by using
2405 #(revert-auto-beam-setting '(be p q n m) a b [context])
2409 be, p, q, n, m, a, b and context are the same as above. Note that the
2410 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2411 so you can revert rules that you did not explicitly create.
2413 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2415 a16 a a a a a a a a a a a a a a a
2416 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2417 a16 a a a a a a a a a a a a a a a
2420 The rule in a revert-auto-beam-setting statement must exactly match the
2421 original rule. That is, no wildcard expansion is taken into account.
2423 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2425 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2427 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2429 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2435 @c TODO: old material -- not covered by above stuff, I think.
2436 If automatic beams should end on every quarter in 5/4 time, specify
2439 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2440 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2441 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2442 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2446 The same syntax can be used to specify beam starting points. In this
2447 example, automatic beams can only end on a dotted quarter note
2449 #(override-auto-beam-setting '(end * * * *) 3 8)
2450 #(override-auto-beam-setting '(end * * * *) 1 2)
2451 #(override-auto-beam-setting '(end * * * *) 7 8)
2453 In 4/4 time signature, this means that automatic beams could end only on
2454 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2455 3/8, has passed within the measure).
2457 @cindex automatic beam generation
2459 @cindex @code{autoBeaming}
2462 If beams are used to indicate melismata in songs, then automatic
2463 beaming should be switched off with @code{\autoBeamOff}.
2468 @cindex @code{\autoBeamOff}
2469 @code{\autoBeamOff},
2470 @cindex @code{\autoBeamOn}
2476 If a score ends while an automatic beam has not been ended and is
2477 still accepting notes, this last beam will not be typeset at all. The
2478 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2479 >>}. If a polyphonic voice ends while an automatic beam is still
2480 accepting notes, it is not typeset.